i THROUGH  A 

i/lATRIMONIAL  BUREAU 

1 * 

' QV  Ccimcbictta  in  0nc  ^ct 


EFFIE  Wi  MERRIMAN 

.uthor  of  “ Soci^,ls,”  “ Diamonds  and  Hearts,’’  “A  Pair  of  Artists,” 
“ Comedies  for  Children,”  Etc. 


CHICAGO 

THE  DRAMATIC  PUBLISHING  COMPANY 


CAST  OF  CHAEACTERS. 


Guy  Williams. 
Marie  Manning. 


PROPERTIES. 

There  must  be  wig,  spectacles,  and  wart  for  Guy,  who  must 
also  wear  cotton  batting  to  increase  size  of  his  abdomen,  and  a 
strip  of  whalebone  bound  under  his . knee.  Marie  appears 
hump-backed,  with  gray  wig,  old  lady’s  bonnet  and  glasses. 


Time  of  acting,  20  minutes. 


Copyright,  1898,  by  The  Dramatic  Publishing  Company. 


^THROUGH  A MATRIMONIAL  BUREAU. 

f 

^ 

i Scene. — Morning.  An  hotel  parlor  is  represented.  Enter 
Guy  Williams,  R.  f.,  carrying  valise,  cane  and  umbrella.  He 
looks  around  the  room  as  if  in  search  of  something,  then 
stands  his  belongings  on  the  right  side  of  the  fireplace,  and 
puts  his  hat  on  the  mantel.  He  is  dressed  in  the  worst  possi- 
ble taste,  and  wears  an  enormous  yellow  chrysanthemum  in 
his  buttonhole.  He  has  an  unsightly  wart  on  his  nose,  and 
wears  a wig  that  makes  him  appear  to  be  partially  bald.  His 
abdomen  is  enormous,  and  one  leg  is  stiff.  Taken  all  in  all, 

I he  is  as  unattractive  as  he  can  possibly  make  himself.  From 
' the  fireplace  he  walks  to  the  mirror,  L.  C.,  surveys  his  reflec- 
tion for  a moment,  then  breaks  into  a hearty  laugh. 

Guy.  Gad,  what  a sight  ! I’m  enough  to  draw  tears  from  a 
stone  image  ! \Laughs,  then  suddenly  claps  his  hand  to  his 
nose,  a7id  puts  his  face  riearer  the  mirror.']  Holy  smoke  ! can 
this  wart  be  coming  off?  It  feels  like  it  ! [IVorks  with  wart 
Iff  on  his  nose.]  But  Jenkins  swore  by  all  his  stars  that  it  would 
^ stick,  and  that  no  one,  not  in  the  secret,  would  ever  guess  it 
didn’t  grow  there.  Good  fellow,  that  Jenkins  ! Always  ready 
to  help  a chap  out  of  a bad  scrape.  {Turns,  facing  audie7ice, 
a7id  so  that  the  77iir'kor  reflects  a side  view.  Laughs  again.] 
It’s  enough  to  make  a man  have  hysterics  ! Wonder  if  I’ll  know 
^ enough  to  sit  down  with  all  this  cotton  batting  resting  on  my 
abdomen  ? [ Walks  to  07te  of  the  two  chairs  7iear  C.  a7id  tries 

to  sit  gracefully , but  is  obliged  to  77iake  several atte77ipts  before 
^ he  satisfies  hi77iself.]  I don’t  know  which  is  harder  to  manage, 
the  cotton  batting,  or  the  whalebone  bound  under  my  knee.  I 
can’t  imagine  the  woman  who  would  be  likely  to  fall  in  love 
^ with  a figure  like  this.  [Gets  up,  goes  back  to  77iirror,  a7id 
o laughs  agabi  at  his  reflection.  Takes  off  his  wig,  showi7ig 
' 7iicely  arra7iged  hair,  fa7is  the  top  of  his  head  with  it,  then 
I,  replaces  it  a7td  returns  to  chair,  C.]  You  see  {to  audie7ice]  a 


.1 


4 


THROUGH  A MATRIMONIAL  BUREAU. 


fellow  has  g-ot  to  protect  himself,  more  especially  when  he  gets 
mixed  up  with  a girl  through  a matrimonial  bureau.  I think  I 
love  her.  Anyhow,  I have  told  her  I do.  and  I’ve  sworn  to  marry 
her,  in  case  she  is  willing,  after  having  seen  me.  She’ll  not 
be  likely  to  be  over  enthusiastic,  I imagine.  [Goes  io  mirror 
again.']  Think  of  a girl  longing  to  wed  this  ! But,  in  case  I 
am  not  disappointed  in  her,  I can  easily  make  myself  more 
presentable.  Perhaps,  though,  she’ll  get  such  a shock  that  she’ll 
never  be  able  to  forgive  the  deception.  [Looks  concerned  for  a 
nioinent,  then  shrugs  his  shoulders?^  Ah,  well  ! I must 
chance  it  ! I can’t  run  the  risk  of  having  a perfect  fright  fall  in 
love  with  me.  [To  audie7ice.\  You  see.  I’m  bound  to  marry 
her  in  case  she  desires  it  after  having  seen  me.  If  the  photo- 
graph she  sent  me  flatters  her  as  much  as  the  one  I sent  her 
flatters  me,  then  I haven’t  the  slightest  idea  how  she  looks. 
[Takes  out  watch.]  She’ll  not  be  here  for  fifteen  minutes  yet. 

I believe  I’ll  go  out  to  the  bar-room  and  get  a cigar.  [Takes 
hat  and  goes  out,  R.  F.  The  door  has  hardly  closed  behuid 
him  when  M-Sivie  on  ter s,  L.  F.  ] 

Marie.  He  isn’t  here  ! That’s  not  gallant,  to  say  the  least.' 
He  ought  to  have  arrived  first.  [Deposits  valise,  bandbox  and 
umbrella  on  left  side  of  fireplace,  then  discovers  Guy’s  valise 
071  other  side.]  Oh,  I believe  he  has  been  here,  after  all  ! How 
lovely!  [Claps  her  ha7ids,  girlishly , the7i  da7ices  to  i7iirror, 
where  she  views  herself  a7id begms  laughmg.]  Did  there  ever 
anybody  look  like  me  ? I declare,  it  is  a shame  to  deceive  him  ! 
but  [Co7ni7ig  forward  a7id  addressing  audic7ice\  suppose  I 
don’t  like  him  the  least  little  bit  1 Don’t  you  see  how  much 
better  it  would  be,  in  that  case,  for  him  to  be  disappointed  in 
me  ? And  if  I do  like  him,  if  I do — Oh,  how  I will  surprise 
him  1 And  he’ll  forgive  me  1 Of  course  he  will  ! I’ll  be  so 
nice  and  entertaining  that  he  can’t  help  himself.  [Da7ices 
arou7id  the  roo77i,  very  gracef  ully , but  7)iaki7ig  a7i  odd  picHire, 
beca7ise  she  appears  to  be  slightly  hu77ip‘-backed.]  Oh  ! I for- 
got my  hump  ! [Stops  da7ici7ig,  and  hurries  to  77iirror  to  see 
if  it  is  hi  place  l\  I was  afraid  I had  shaken  it  off!  [Laughs 
at  her  refiectio7i.]  I wish  I could  take  off  this  horrid  bonnet, 
but  if  I do,  like  as  not^  my  wig  would  come,  too.  Oh,  here’s  a 
guitar  ! Wonder  who  plays  it  ? | lakes  guitar  fro7n  floor, 

where  it  lea7is  agai7ist  77iirror,  aiid  begins  to  play  a7id  si7ig, 
resting  07ie  foot  on  easy -chair,  L.,  hi  order  to  support  the 
guitar.  Her  back  is  turned  toward  the  door,  R.  F.  Guy 
enters  R.  F.,  and  stands  just  hi  side  the  door.] 


THROUGH  A MATRIMONIAL  BUREAU. 


5 


Guy.  [Aside.]  She  sings  well  ! She  sings  very  well  indeed  ! 
But— but  can  it  be — is  she  a hunchback?  [Co/nes  a little 
nearer.\  Great  Scott,  she  is  a hunchback  ! 

Marie.  I don’t  believe  this  guitar  has  been  tuned  since  the 
year  one  ! .[Turns  to  replace  it,  and  looks  uito  the  face  of 
Guy.)  Oh  ! 

Guy.  [Boiuing.]  Have  I the  pleasure  of  addressing  Miss 
Marie  Manning?  Lays  one  finger  on  the  chrysanthemum  in 
his  buttonhole,] 

Marie.  That  is  my  name,  [Touchuig  the  crysanthemum  she 
wears.] 

Guy.  I am  Guy  Williams.  [Aside.]  Isn’t  she  a regular 
Katisha  ? 

Marie.  I feared  so — I beg  pardon — I thought  as  much. 
[Aside.]  He  must  have  come  from  a dime  museum  ! 

auy.  Allow  me.  | Takes  guitar  from  her,  and  replaces  it.] 
I am  glad,  indeed,  to  know^  that  you  sing.  You  have  a beauti- 
ful voice  ! [Aside.\  Wish  I could  say  as  much  for  her 
face. 

Marie.  I seldom  sing,  however,  I — I usually  have  a sore 
throat.  [Aside.]  It’s  an  awful  lie  ; but  I can’t  allow  him  to  be 
pleased  with  me.  He’s  lame  ! And  look  at  his  nose  ! • 

Guy.  [Placing  otie  oj  the  chairs  at  C.  for  her.]  Please  be 
seated.  Can  you  not  do  anything  for  the  hoarseness  ? [Takes 
other  chair,  C.] 

Marie.  Nothing  ; absolutely  nothing.  It  is  a result  of  neu- 
ralgia, and  persists  in  spite  of  the  fact  that  I have  had  all  my 
teeth  pulled.  [Aside.]  He  ought  to  have  had  that  wart  pulled. 

Guy.  Had  all  your  teeth  pulled  ? [Aside,]  I wonder  if  she 
has  wooden  legs. 

Marie.  [Showing  her  teethl]  They  are  false,  but  I flatter 
myselt  they  are  a good  imitation.  I planned  them  myself.  I’m 
good  at  planning  teeth  ! Now,  these  do  not  have  a plate  that 
shows  every  time  I smile,  and  I’ve  never  choked  on  them  once  ! 
[Aside.]  There  ! If  that  doesn’t  settle  him,  nothing  will. 

Guy.  [ With  a forced  sinile.]  It’s  very  interesting,  very.  I 
wonder  that  you  never  mentioned  it  in  your  letters. 

Marie.  We  both  seem  to  have  neglected  mentioning  little 
personal  peculiarities  that  ought,  perhaps,  to  have  been  men- 
tioned. I can  see,  now,  that  one  does  not  get  quite  the  correct 
idea  through  correspondence.  [Aside.]  He  wrote  lovely 
letters. 

Guy.  Are  you  disappointed  in  me  ? Do — do  you  want  to 


U.  OF  ILL  Lia 


6 THROUGH  A MATRIMONIAL  BUREAU. 

throw  me  over  ? [Aside.]  I’d  like  to  be  thrown  over,  at  least 
ten  miles. 

Marie.  Oh,  no  ! No,  indeed  ! [Asic^e,]  I’ll  not  give  him  a 
chance  to  sue  me  for  breach  of  promise.  He  must  be  the  one 
to  break  the  engagement.  [71:?  Guy.]  You  wrote  such  enter- 
taining letters  ! I can  never  tell  you  how  much  I have  enjoyed 
them.  I think — I fear — they  led  me  to  form  an  opinion  of  you 
that  was — well — slightly  more  ideal  than  the  case  warrants. 
[Grins  at  hi77i  so  foolishly,  and  for  so  long  a time,  that  he 
turns  his  head  in  disgusti] 

Guy.  [Aside.]  Think  of  facing  that  for  the  rest  of  one’s 
days. 

Marie.  .[Aside.]  He  is  wilting  ! If  I can  do  it  again,  I really 
believe  he’ll  run. 

Guy.  I — I think  it  is  only  fair — only  honorable  to  explain 
that  I did  not  write  those  letters.  I really  cannot  take  praise 
for  them.  A literary  friend,  who  is  something  of  a poet 

Marie.  [Rising  angrily.]  Do  you  mean  to  say  that  you  got 
someone  else  to  write  your  letters  ? 

Guy.  [Rising.]  Why,  yes.  You  see  I — I was  charmed  with 
your  letters,  and — and  naturally  I wanted  to  make  a good  im- 
pression. [Aside.]  It’s  the  biggest  lie  I ever  told  ; but  what 
else  can  I do  ? I simply  won’t  marry  her. 

Marie.  And  this — this  other  fellow — must  have  seen  my 
letters  ! 

Guy.  Of  course  ; he  went  into  raptures  over  them.  He — ht 
made  me  quite  jealous.  [Aside.]  I mustn’t  let  her  see  that  I 
want  her  to  break  the  engagement.  A breach  of  promise  suit 
is  not  to  my  liking. 

Marie.  Sir,  I did  not  dream  that  a man  could  be  so  dishon- 
orable. But  I am  justly  punished.  I ought  never  to  have  had 
anything  to  do  with  that  horrid  old  matrimonial  bureau.  I 
hate  you  ! I hate  you  beyond  telling.  [Crosses  over  to  sofa_ 
R.,  sUiks  dow7i  with  her  head  07i  the  ar77i  of  it,  a7id  crie: 
bitterly.] 

Guy.  [Sta7ids  c.  with  his  hands  i7i  pockets,  regarding  heT' 
dubiously.]  Confound  it  all,  [To  audie7ice\  I do  wish  I had 
oeen  born  blind.  I like  her  voice,  I like  the  way  she  speaks. 
If  I were  not  obliged  to  see  her,  I believe  I’d  be  as  deeply  in 
love  with  her  as  her  letters  led  me  to  think  I was.  But  oh, 
how  she  looks  ! How  she  does  look  ! She  actually  makes  my 
teeth  ache.  [Gazes  %t  Marie  for  a ino77ient  m u7ico77ifortable 
Mlence.]  I feel  like  a brute.  I suppose  I ought  to  tell  the  poor 


THROUGH  A MATRIMONIAL  BUREAU. 


1 

little  thing-  that  I lied  about  those  letters.  I will  tell  her.  I’ll 
trust  to  my  good  luck  to  break  the  engagement  in  some  pther 
way.  Miss  Manning  ! \Marie  makes  no  response,  diiJ  con- 
tinues sobbing.^  Miss  Manning  ! 

Marie.  [^Still  sobbing.\  Don’t  speak  to  me.  Go  away  ! I 
hate  you  ! 

Guy.  yTo  audience?^  She  hates  me.  That’s  satisafctory. 
{^Hesitates  a mome7it,  looking  downi\  That  is,  it  ought  to  be 
satisfactory,  but,  ’pon  my  honor,  I don’t  know  whether  it  is  or 
not.  If  I’d  only  been  born  blind  ! [Sighs  afid  walks  to  R., 
where  he  turns  aiid  regards  Marie  dubiously.  Marie  still 
sobs.'\ 

Marie.  [Raising  her  head,  and  wiping  her  eyes.'\  I was  a 
fool  to  come  here  ! I hate  ‘myself  for  it  ; but — but  oh,  those 
letters  were  so  nice,  and — and  I never  dreamed  that  men  would 
do  such  things  ! 

Guy.  [Taking  a step  forward.']  They  don’t — all  of  them  ! 
for  instance,  I don’t  ! I — I just  manufactured  that  little  yarn. 

Marie.  Manufactured  that  little  yarn  ? What  do  you  mean  ? 

Guy.  Just  made  it  up  out  of  whole  cloth.  I wrote  those  let- 
ters myself.  No  one  but  myself  ever  saw  yours. 

Marie.  [Rising  and  speaking  with  great  dignity.]  Mr. 
Williams,  do  I understand  you  to  say  that  you  Tied  to  me  about 
those  letters  ? 

Guy.  \Miserably.-\  I— I suppose  that’s  what  you’d  call  it  in 
plain  English. 

Marie.  And  for  what  purpose,  pray  ? 

Guy.  [To  audience.]  Now,  what  in  thunder  am  I to  say. 
[To  Marie.]  For  what  purpose  ? Why,  why — I presume  it  was 
just  an  asinine  attempt  to  be  witty.  Tm  a perfect  jackass  about 
such  things.  I — I was  never  funny  in  my  life,  y^t  I’ve  always 
tried  to  be.  It  is  heredity,  or  the  stars,  or  pre-natal  influ- 
ence, or — or — [Stops,  confused,  because  Marie  has  been  staring 
at  him  steadily  during  his  eager  attempt  to  set  himself  right, 
and  he  feels  that  she  does  not  believe  him.] 

Marie.  [Coldly.\  Mr.  Manning,  there  is  no  call  for  prevari- 
cation. It  is  a case  where  the  truth  would  be  better.  Let  me 
help  you  out.  You  told  that  miserable  lie  with  the  intention  of 
making  me  hate  you.  You  have  succeeded.  [Guy  sUtks  mto 
an  easy  chair,  looking  limp  with  mortification.]  But  you  really 
need  not  have  gone  to  such  trouble.:  Your  previous  deception 
would  have  been  quite  sufficient. 

Guy.  [Looking  up  asto7iished.]  My  previous  deception  ! 


8 


THROUGH  A MATRIMONIAL  BUREAU. 


Marie.  That  is  what  I said. 

Guy.  {^Sarcastically Will  you  kindly  explain  ? 

Marie.  [ Who  has  been  walking  back  and  forth  across  the 
stage  quite  regally,  and  totally  oblivious  to  her  hump.  Now 
turns,  C.,  and  faces  him.'\  Will  I explain  ? Certainly,  since 
you  request  it.  When  you  had  your  photograph  taken  for  me, 
you  very  thoughtfully  hired  the  artist  to  remove  all  traces  of 
that— that  disfiguring  wart  on  your  nose.  {Gazes  at  him'in 
scornful  triumph.\ 

Guy.  \Aside,\  Confound  that  wart  ! I’d  forgotten  all  about  it. 

Marie.  Your  letters  told  of  games  at  lawn  tennis  and  foot- 
ball. You’d  be  exceedingly  active  in  such  games,  wouldn’t  you. 
You  must  have  a very  vivid  imagination,  Mr.  Williams,  as  well 
as  great  knowledge  of  the  preferences  of  the  opposite  sex.  No 
girl  would  dream  that  a man  who  took  active  part  in  athletic 
sports  might  be  both  lame  and  obese.  Pardon  my  rudeness, 
but,  remember,  you  insisted  upon  an  explanation.  {Turns  to 
go  toward  her  valise,  when  she  is  stopped  by  Guy’s  voicel\ 

Guy.  {Rising,\  Pardon  is  granted  most  cheerfully.  Miss 
Manning,  and,  if  I could  bring  myself  to  forget  that  you  are  a 
lady,  I might  remind  you  of  the  few  slight  omissions  on  your 
part. 

Marie.  [Astonished.]  Omissions  on  my  part  ! 

Guy.  [ With  a gesture  of  indifference.]  Bordering  on  decep- 
tion. Nothing  of  importance  when  coming  from  a lady. 

Marie.  [To  audience.]  What  can  he  mean  ! [Puts  one 
ha7id  to  head,  and  feels  wig.]  Oh,  heavens,  my  iViake-up  ! I’d 
forgotten  it.  [To  Guy.]  I — I understand.  I really  don’t  know 
what  to  say. 

Guy.  I beg  you  will  say  nothing.  [More  gently.]  I ought 
not  to  have  inentioned  it.  I am  a perfect  brute. 

Marie.  [Covering  her  face  with  her  arm,  like  a grieved 
child.]  Oh,  what  shall  I do  ? 

Guy.  [Coming  clo'ser.]  I am  so  sorry.  I did  not  mean  to 
wound  you.  I forgot  myself  for  a moment,  when  you  were  so 
very  hard  on  me.  But  that  is  really  no  excuse.  I ought  not 
to  have  hurt  you  by  mentioning  that  for  which  you  are  in  no 
way  responsible.  Can  you  forgive  me  ? Don’t  cry  any  more. 
Look,  at  me,  please,  and  say  I’m  forgiven.  \Atte7npts  to  pull 
Marie  s arm  from  her  face,  and  the  wig  and  bonnet  fall  back. 
Guy  gazes  at  them  in  astonishment,  Marie  looks  at  him  half 
laughing,  half  defiant.] 

Guy.  May  I ask — 1-— I — do  I see  correctly  ? [Brushes  his 


' THROUGH  A MATRIMONIAL  BUREAU. 


9 


hand  across  his  eyes,  as  if  to  make  stire  that  there  is  no  op- 
tical illusion,  and  in  so  doing  knocks  the  wart  off  his  nose. 
He  holds  it  in  one  hand,  awkwardly , while  he  feels  of  his 
nose  with  the  other,  and  stares  at  Marie  with  apprehension  in 
his  face,] 

Marie.  \Looking  closely  at  the  wart.]  Do  / see  correctly? 

I Marie  backs  up  to  sofa  and  falls  upon  it  hi  convulsions  of 
laughter.  Guy  backs  up  to  easy  chair,  and  falls  into  it, 
laughing  still  more  heartily.] 

Marie.  [ Wiping  her  eyes.]  I see  it  all  ! 

Guy.  \Wiping  eyes.]  No,  you  don’t.  flapping  his 

stomach]  is  cotton. 

Marie.  So  is  this.  [Turning  half  round  to  show  the  hump 
on  her  back,] 

Guy.  You  were  afraid  you  wouldn’t  like  me.  That’s  why 
you  did  it.  [Pulls  off  wig.] 

Marie.  And  you  were  afraid  you  wouldn’t  like  me.  How 
about  that  stiff  leg  ? [Lays  wig,  spectacles  arid  bonnet  on 
sofa.] 

Guy.  Whalebone  bound  under  the  knee. 

Marie.  Sure  ? 

Oiiy.  Can’t  get  it  off  here,  but  the  knee  works  all  right.  See 
here.  [Gets  up  and  dances.  Marie  rises  and  takes  a few 
waltz  steps  as  if  involuntarily A man  couldn’t  do  that  if  his 
leg  was  really  stiff. 

Marie.  [Turning  away .]  No,  I suppose  not.  Well,  good- 
bye ! [Holds  out  her  hand.] 

Guy.'  Good-bye  ! What  for  ? 

Marie.  A man  who  took  such  pains  to  make  me  hate  him — 

Guy.  Nonsense.  We’re  quits  on  that.  Come  here,  Marie. 
[Takes  her  in  his  arms  and  kisses  her.  They  waltz  off  the 
stage  as  the  curtain  falls.] 


CURTAIN. 


SANTIAGO 

OR 

FOR  THE  RED,  WHITE  AND  BLUa 


A WAR  DRAHA  IN  FOUR  ACTS. 

By  JOHN  A.  FRASER, 

Author  of  ‘‘A  Noble  Outcast,”  “The  Merry  Cobbler,*^ 
“Our  Starry  Banner,”  etc. 

Prtce,  25  cents. 

CHARACTERS. 


Capt.  Oscar  Hutton,  U.  S.  A.  In  love  with  Cora. ^ • Leadina  Jumnite  \ 

Lieut.  Fisk,  U.  S.  A.  In  love  with  his  duty Juvenile  bit  \ 

Milton  Merry,  U.  S.  N.  In  love  with  Bess Light  Comedy 

Lieut.  Cristobal,  S.  A.  In  love  with  soidiering ..Straiafit  \ 

Dr.  Harrison,  Red  Cross  H.S.  In  love  with  surgery  Straight  old  man  1 

Elmer  Walton,  banker.  In  love  with  Spanish  bonds Character  old  man 

Phillip  Basset^  his  stepson.  In  love  with  Ysobel Juvenile 

Fernando  Diaz,  Walton’s  cashier,  afterwards  S.  A.  In  love  with  Cora..  ! 

Heavy 

Beverly  Brown,  Walton’s  butler,  afterwards  Red  Cross  H.S.  In  love  with  I 

chickens Hegro  Comedy  \ 

Cornelius  Dwyer,  Walton’s  coachman,  afterwards  U.  S.  A.  In  love  with 

‘ ‘N ay gurs” Irieh  Comed.y 

Antonio  Carlos,  a Cuban  planter.  In  love  with  Spain Character  old  man 

Cora  Basset,  Walton’s  stepdaughter.  In  Icve  with  Oscar. Juvenile  \ 

Bess  Walton,  Walton’s  daughter.  In  love  with  Milton Ingenue  \ 

Ysobel  Carlos,  Antonio’s  daughter.  In  love  with  Phillip. Juvenile 

American  Soldiers,  American  Sailors,  Spanish  Soldiers,  Guerillas. 


Actual  time  of  piaying,  two  hours. 

SYNOPSIS. 

iCT  I.  The  ball  at  Walton’s,  Washington,  D.  C.  Handsome  interior. 

ACT  II.  The  Red  Cross  Hospital.  First  day’s  battle  of  Santiago.  Exterior. 

ACT  III.  Scene  1.— Interior,  Guerilla  headquarters  in  the  Sierra  Cobra,  near  Santi- 
ago. Scene  2.— Exterior.  The  underbrush  of  Sierra  Cobra.  Scene  8.— Fight  in  the 
mountain  pass,  second  day’s  battle  of  Santiago.  Exterior. 

ACT  IV.  Hotel  Tacon,  Santiago,  on  the  night  of  the  surrender.  Interior. 

NOTE.— Walton,  Dr.  Harrison  and  Carlos  may  double  easily,  and  the  piece  played 
with  nine  males,  three  females. 

The  best  Cuban  war  play  ever  written.  Easy  to  produce,  but 
very  effective.  Thrilling  situations,  fine  comedy,  intense  cli- 
maxes. Comic  Irishman  and  Negro.  Three  magnificent  female 
parts.  Picturesque  Spanish  villain  and  heroic  juvenile  lead.  No 
special  scenery  is  required,  as  every  regular  theatre,  in  its  ordin- 
ary equipment,  has  every  set  called  for.  Adapted  to  both  profes* 
eional  and  amateur  companies. 

Address  Orders  to 

THE  DRAMATIC  PUBLISHING  COMPANY» 

CtllCAQa 


DUMONT’S 

MINSTREL  JOKE  BOOK. 


A Collection  of  jokes  arranged  for  End-Men,  both  professional  and  ama- 
teur. Never  before  collected  and  published  in  a clear  manner  and  with 
bright  dialogue  for  End-Men  and  Interlocutor.  They  form  a book  of  the 
newest,  most  humorous  and  quaintest  matter  ever  arranged.  Any  reader 
may,  with  assured  success,  deliver  them  to  any  assemblages  before  whom  he 
inay  appear. 

Mr.  Dumont  himself  says ; “This  collection  of  jokes  and  dialogues  is  the 
careful  gathering  of  years— and  only  the  best  and  “sure  laugh”  producers 
^re  incorporated  in  this  book.” 


PriM*  25  Gcato* 


PARTIAL  CONTENTS. 


Arithmetic  of  Love,  “Ask  a Policeman,”  All  about  Novels,  At  Niagar? 
Falls,  “A.  P.  A.”  and  Bricks,  Advantages  of  Education.  All  Softs,  Army 
and  its  Soldiers,  Bad  Case  of  Lying,  Base  Ball,  Breach  of  Promise,  Burg- 
lars. Boston’s  Correct  Language,  Bravery  in  Battle.  Fishing,  Funny  Signs 
and  Borrowed  Pants,  Fish  makes  Brains,  Firing  oif  the  Cannon,  Climatic 
Changes,  Clancy  as  a Diver,  '‘Couldn’t  find  a Policeman,”  Colonel  Pepper, 
“Curiosities  for  Museums,”  Conumdrums,  Cruelty  to  Animals,  Country  and 
Don’t  Drink,  Couldn’t  take  the  Job,  Comic  Recitations,  Cork  Leg,  “Casa- 
bianca,’*  “Dreams,”  Ducks  and  Indians  Dutchman’s  Bet,  “Daniel.”  Eating 
Dumplings,  Epitaphs,  Editing  a Newspaper,  Eating  by  Weight,  Educated 
Horse,  The  Mule  Battery,  “Making  Both  Ends  Meet,”  The  Mind  Reader, 
Missed  the  Hearse,  Mixed  Breed  of  Chickens.  Married  into  a mean  Fami- 
ly, Making  a Pair  of  Shoes,  Man’s  Ribs  and  Angel  Cake,  The  New  Poet,  Never 
Happened,  On  the  Battlefield,  Off  to  the  Seat  of  War,  Our  Brothers,  Old 
Cider  Barrel,  Origin  of  Songs,  Opinion  on  Man  and  Woman.  Gratitude,Hotel 
Regulations,  Hold  your  Head  Up,  How  is  Business,  How  Different  Girls 
Kiss,  Hash  for  the  Navy,  “Has  not  Caught  Me  Yet,”  Irish  Monologue,  It 
Runs  in  the  Family,  “If  a River  were  between  all  Men  and  Women,”  Jum- 
ping Frog,  Kissing,  Kiss  Sociable,  Keep  off  the  Grass,  Kissing  in  the  Tunnel, 
Lawyer  and  Doctor,  Lost  Umbrella,  Liquor  Assists  Nature.  Learning  the  Bike, 
Love  and  Matrimony,  Law  in  Alaska,  Shoemaker’s  Daughter,  Singing  at  the 
Party,  Storm  at  Sea,  Spotted  Dog,  Swallowed  an  Egg,  Second  Time  on  Earth, 
Signs,  Sorry  he  didn’t  Take  it  Cold.  Progress,  Parson’s  Sermon  on  Crap  Shoot- 
ing, Poultry  and  Fruit,  Power  of  Language,  Perhaps  I Will  and  Perhaps  I 
Won’t,  Peculiarities  of  Speech.  Pumpkin  Pie.  Patriotic  Alphabet,  Queer  Ad- 
vertisements, Ragged  Jacket,  Raising  Grass-hoppers,  Taught  His  Wife  a 
Lesson,  Thought  it  was  a Boat-race,  The  Telephone,  Thief  with  a Roman 
Nose,  Taxes  on  Luxuries,  Transfusion  of  Blood,  Took  the  Dead  Man’s  Dol- 
lar, Two  Good  Liars,  Three  Realistic  Dreams,  Takes  It  just  the  same,  “Twin- 
kle, Twinkle  Little  Star,”  Very  Good  Tip,  Very  Large  Punch  Bowl,  Very, 
Mean  Father,  “We  are  Letters,”  “Went  Home  for  his  Pipe,”  Why  is  a 
Ship  called  “She?”  “What  is  Love?”  “We  are  all  Bottles,”  “Wish  the  Gun  had 
gone  off,”  Writing  a Novel. 


Address  Orders  to 

THE  ORAHATIC  PUBLISHING  COflPANV, 

CHICAQQb 


The  Dramatic  Publishing  Co’s.  Catalogue 


THE  SPINSTERS’  CONVENTION. 

(The  Original  Old  Maids*  Convention.) 

Price  35  cents. 

An  evening’s  entertainment  which  is  always  a snre  hit  and  a 
money -'maker.  Has  been  given  many  hundred  times  by  schools, 
societies  and  churches,  with  the  greatest  success.  An  evening  of 
refined  fun.  It  requires  from  twelve  to  twenty  ladies  and  two 
gentlemen,  although  ladies  may  take  the  two  male  parts.  A 
raised  platform  with  curtains  at  the  back  is  all  the  stage  requires, 
out  a fully  equipped  opera  stage  may  be  utilized  and  to  great 
advantage. 

Ridiculous  old  maid  costumes,  with  all  their  frills  and  fUf* 
belows,  their  cork^curls,  mittens,  work  bags,  bird  cages,  etc., 
are  the  proper  costumes.  Later  on  in  the  program  some  pretty 
young  women  in  modern  evening  dress  are  required.  The  lattei 
should  each  be  able  to  give  a number  of  a miscellaneous  pro- 
gram, that  is,  be  able  to  sing,  play  some  instrument, 
vhistle  or  recite  well. 

This  entertainment  utilizes  all  sorts  of  talent,  and  gives  ea(5h 
participant  a good  part.  Large  societies  can  give  every  mei^* 
ber  something  to  do. 


SYNOPSIS. 

Gathering  of  the  Members  of  the  Society.— The  RolbCall.— The  Greet 
ing  Song.— Minutes  of  the  last  meeting.— Report  of  The  Treasurer.— 
Music:  “ Sack  Waltz.”— A paper  on  Woman’s  Rights.— Song:  “ No  one 
to  Love,  None  to  Caress.”— Reading  of  “M  irriage  Statistics.”— The  Advent 
of  the  Mouse.— Initiation  of  two  Candid  tes  into  the  Society.— The  Psalm 
of  Marriage.— Secretary’s  Report  on  Eligible  Men. —A  Petition  to  Con' 
ffress.— Original  Poem  by  Betsy  Bobbett.— Song:  ‘*Why  Don’t  the  Mon 
Propose?”— Report  of  The  Vigilance  Committee.— An  Appeal  to  the 
Bachelors.— Prof.  Make=Over.— The  Remodeloscope.— Testimonials.— Tb* 
Transformation  and  a miscellaneous  program- 


TOnPKIN’S  RIRBD  MAN. 

A DRAMA  IN  THREE  ACT5. 

By  EFFIE  W,  MERRiMAN. 

“Blamonds  and  Hearts,”  “A  Pair  of  Artists”,  “Through  a Matrlmo 

man  Bureau,”“Their  First  Meeting,”  “Comedies  for  Chlldren,”“Socials,’* 

6tC* 

Price,  25  cents. 

This  is  a strong  play.  No  liner  character  than  Dixey,  th  hired  man, 
has  ever  been  created  in  American  dramatic  literature.  He  compels  alternate 
laughter  and  tears,  and  possesses  such  quaint  ways  and  so  much  of  the  mills 
of  human  kindness,  as  to  make  him  a favorite  with  all  audiences.  The  other 
male  characters  make  good  contrasts:  Tompkins,  the  prosperous,  straightfor- 
ward farmer;  Jerry,  the  country  bumpkin,  and  Remington,  the  manly  young 
American.  Mrs.  Tompkins  is  a strong  old  woman  part;  Julia,  the  spoiled 
daughter;  Louise,  the  leading  juvenile,  and  Ruth,  the  romping  soubrette,  are 
all  worthy  of  the  best  talent.  This  is  a fine  play  of  American  life;  the  scene 
of  the  three  acts  being  laid  in  the  kitchen  of  Tompkin’s  farm-house.  The 
settings  are  quite  elaborate,  but  easy  to  manage,  as  there  is  no  change  of 
scene.  We  strongly  recommend  “Tompkin’s  Hired  Man”  as  a sure  success. 

CHARACTERS. 

Asa  Tompkins— A prosperous  farmer  who  cannot  tolerate  deceit 
Dixey— The  hired  man,  and  one  of  nature’s  noblemen. 

John  Remington— A manly  young  man  in  love  with  Louise. 

Jerry— A half-grown,  awkward  country  lad. 

Mrs.  Tompkins— A woman  with  a secret  that  embitters  her. 

Julia— A spoiled  child,  the  only  daughter  born  to  Mr.  and  Mrs.  Tompkins. 
Louise— The  daughter  whom  Mr.  Tompkins  believes  to  be  his  own. 

Ruth— Mr,  Tompkin’s  niece,  and  a great  romp. 

PLAYS  ABOUT  TWO  HOURSc 
SYNOPSIS: 

Act  1.  Sewing  carpet  rags.  “John  and  I are  engaged.”  “Well,  you 
can  disengage  yourself,  for  you’ll  never  be  married.”  “Mrs.  Clark,  she’s  took 
worse.”  Who  makes  the  cake?  Julia  declines  to  sew  carpet  rags.  “It 
would  ruin  my  hands  for  the  piano  or  my  painting.”  Dixey  to  the  rescue. 
‘You  take  the  rags  a minute,  child,  and  I’ll  jist  give  that  fire  a boost.” 
Dixey’s  story.  “It  breaks  his  heart,  but  he  gives  her  away,  an*  he  promises 
never  teh  let  her  know  as  how  he’s  her  father.”  Enter  Jerry.  “Howdy,” 
John  gets  a situation  in  the  city.  Farewell.  “It’s  a dandy  scheme,  all  the 
same.  We’ll  have  our  party  in  spite  of  Aunt  Sarah.”  “Oh,  I’m  so  happy.” 
The  quartette.  Curtain. 

Act  2.  Chopping  mince-meat.  The  letter.  Louisa  faints.  “How  dare 
;ou  read  a paper  that  does  not  concern  you?  “You  have  robbed  me  of  my 
/ather’slove.‘*  The  mother’s  story.  Dinner.  “I  swan,  I guess  I set  this 
table  with  a pitchfork.”  “Now,  Lambkin,  tell  Dixey  all  ’bout  it,  can’t  yer?” 
“It  looks  zif  they’d  got  teh  be  a change  here  purty  darned  quick,  an*  zif  I’'m 
the  feller ’lected  teh  bring  it  ’bout.”  “None  o’  my  bizness,  I know,  but— . 
I am  her  father  1”  “It’s  love  the  leetle  one  wants,  not  money.”  “If  I’d  been 
a man,  I’d  never  give  my  leetle  gal  away.”  “I’m  dead  sot  on  them  two  prop- 
'sitions.”  Curtain. 

Act  3.  Dixey  builds  the  fire.  “Things  haint  so  dangerous  when  every-, 
body’s  got  his  stummick  full.”  The  telegram.  “It  means  that  Louise  is  my 
promised  wife.”  “By  what  right  do  you  insinuate  that  there  has  been 
treachery  under  this  roof?”  “A  miserable,  dirty,  little  waif,  picked  up  on 
the  streets,  and  palmed  off  upon  my  father  as  his  child  I”  “Oh  my  wife,  your 
attitude  tells  a story  that  breaks  my  heart.”  “Yeh  druve  her  to  do  what  she 
did,  an’  yeh  haint  got  no  right  teh  blame  her  now.”  “Friend  Tompkins,  a 
third  man  has  taken  our  leetle  gal,  an’  we’ve  both  got  teh  larn  teh  git  along 
without  her.  We  kin  all  be  happy  in  spite  o*  them  two  sentimental  kids.” 
Curtain. 

ADDRESS  ORDERS  TO 

THE  DRAMATIC  PUBLISHING  COMPANY. 
CHICAGO. 


PRACTICAL  INSTRUCTIONS 

FOR 

PRIVATE  THEATRICALS 

By  W.  D.  EMERSON. 

[Author  of  ''A\Country  Romance/’  ‘‘The  Unknown  Rival.”  “Hum- 
ble Pie,”  etc. 

Price,  25  cents. 

Here  is  a practical  hand-book,  describing  in  detail  all  the  ac- 
cessories, properties,  scenes  and  apparatus  necessary  for  an  ama- 
teur production.  In  addition  to  the  descriptions  in  words,  every- 
thing is  clearly  shown  in  the  numerous  pictures,  more  than  one- 
hundred  being  insetted  in  the  book.  No  such  useful  book  has 
ever  been  offered  to  the  amateur  players  of  any  country. 

CONTENTS. 

Chapter  I.  Introductory  Remarks. 

Chapter  II.  Stage,  How  to  Make,  etc.  m drawing-rooms 
or  parlors,  with  sliding  or  hinged  doors.  In  a single  large  room. 
The  Curtain;  how  to  attach  it,  and  raise  it,  etc. 

Chapter  III.  Arrangement  of  Scenery.  How  to  hang  it; 
Drapery,  tormentors,  wings,  borders,  drops. 

Chapter  IV.  Box  Scenes.  Center  door  pieces,  plain  wings, 
door  wings,  return  pieces,  etc. 

Chapter  V.  How  to  Light  the  Stage.  Oil,  gas  and  electric 
lights.  Footlights,  Sidelights,  Reflectors.  How  to  darken  the 
stage,  etc. 

Chapter  VI.  Stage  Effects.  Wind,  Rain,  Thunder,  Break- 
ing Glass,  Falling  Buildings,  Snow,  Water,  Waves,  Cascades, 
Passing  Trains,  Lightning,  Chimes,  Sound  of  Horses’  Hoofs,  Shota. 

Chapter  VII.  Scene  Painting. 

Chapter  VIII.  A Word  to  the  Property  Man. 

Chapter  IX.  To  the  Stage  Manager. 

Chapter  X.  The  Business  Manager, 


Address  Orders  to 

THE  DRAMATIC  PUBLISHING  COMPANY, 
CHICAGO. 


CAPT.  RACKET 

^ A COMEDY  IN  THREE  ACTS. 

BY 

Charles  Townsend. 

PRICE  25  Cents. 


This  latest  play  by  Mr.  Townsend  will  probably  be  one  of  his 
jnost  popular  productions;  it  certainly  is  one  of  bis  best.  It  is 
lull  of  action  from  start  to  finish.  Comic  situations  follow  one 
after  another,  and  the  act-endings  are  especially  strong  and 
and  lively.  Every  character  is  good  and  afiPords  abundant  oppor- 
tunity for  effective  work.  Can  be  played  by  four  men  and  three 
women  if  desired.  The  same  scene  is  used  for  all  the  acts,  and  it 
is  an  easy  interior.  A most  excellent  play  for  repertoire  com- 
panies. No  seeker  for  a good  play  can  afford  to  ignore  it. 

CHARACTERS. 

C APT.  Robert  Racket,  one  of  the  National  Guard.  A lawyer 

when  he  has  nothing  else  to  do,  and  a liar  all  the  time 

Comedy  Lead. 

Obadiah  Dawson,  his  uncle,  from  Japan  “where  they  make 
tea” Comedy  Old  Man. 

Timothy  Tolman,  his  friend,  who  married  for  money  and  is 
sorry  for  it Juvenile  Mane 

Mr.  DAL.ROY,his  father  in-law,  a jolly  old  cove Eccentric 

Hobson,  a waiter  from  the  “Cafe  Gloriana,”  who  adds  to  the 
confusion Utility. 

Clarice,  the  Captain’s  pretty  wife,  out  for  a lark,  and  up  to 
'‘anything  awful” Comedy  Lead. 

Mrs.  Tolman,  a lady  with  a temper,  who  finds  her  Timothy 
a vexation  of  spirit ^ Old  Woman. 

Katy,  a mischievous  maid Souhrette. 

Tootsy,  the  “Kid,”  Tim’s  olive  branch Props, 

SYNOPSIS. 

ACT.  1.  Place;  Tim’s  country  home  on  the  Hudson  near  New  York.  Time: 
A breezy  morning  in  September,  The  Captain’s  fancy  takes  a flight  and 
trouble  begins.  * 

j ACT.  II.  Place;  the  same;  Time:  the  next  morning.  How  one  yarn  re- 
quires  another.  “The  greatest  liar  unhung,”  Now  the  trouble  increases  and 
i the  Captain  prepares  for  war. 

I ACT.  III.  Place;  the  same.  Time;  evening  of  the  same  day.  More  misery. 
I A general  muddle.  “Dance  or  you’ll  die.”  Cornered  at  last.  The  Captain 
I owns  up.  All  serene. 

Time  of  playing:  Two  hours. 


Order  a sample  copy,  and  see  for  yourself  what  a 
good  play  it  is. 


The  Dramatic  Publishing  Co’s^  Catalogue 


A WOMAN’S  HONOR, 

A DRAMA  IN  FOUR  ACTS 


By  JOHN  A.  FRASER. 

Antlior of  ••A  Noble  Outcast,*’  “ Santiago,*’  “ Modern  Ananias,**  ete.,  ala. 
Price,  25  cents. 

Seven  male,  three  female  characters.  Plays  two  hours.  For  in- 
tense dramatic  action,  thrilling  climaxes,  uproarious  comedy,  and  a 
story  of  absorbing  romantic  interest,  actors,  either  profesional  or  ama- 
teur, will  find  few  plays  to  equal  “A  Woman’s  Honor.”  With  careful 
rehearsals  they  will  find  a sure  hit  is  made  every  time  without  difficulty. 

CAST  OF  CHARACTERS. 


Heneral  Mark  Lester.  A Hero  of  the  Cuban  Ten  Years  War Lead 

Pedro  Mendez,  his  half  brother Heavy 

Dr.  Garcia,  Surgeon  of  the  Madalino Straight 

Gilbert  Hall,  M.  I).,  in  love  with  Olive Juvenile 

hobert  Glenn,  a Wall  Street  Banker Old  man 

rregory  Grimes,  Lester’s  Private  Secretary Eccentric  comedy 

Ebenezer,  Glenn’s  Butler Negro  comedy 

Ohve  1 Glen’s  J Juvenile  lead 

Sally  f Daughters} ,,.,.SoubretU 

Maria,  wife  of  Pedro Charaotew 


NOTE. — Glenn  and  Garcia  may  double 

Act  I.  The  Glenn  Mansion,  New  York  City. 

Act  2.  Th©  Isle  of  Santa  Cruz,  off  San  Domingo.  On©  montb 

later. 

Acts  3 and  4.  Lester’s  home  at  Santa  Cruz.  Five  months  latei. 
Between  Acts  3 and  4,  one  day  elapses. 

SYNOPSIS  OP  INCIDENTS. 

Act.  I.  Handsome  (Ira wing=room  at  Glenn’s.  Sally  and  Ebenezer. 

* T isn’t  imputtineut,  no,  no,  Missy.”  “ Papa  can’t  bear  Gregory  Grimes, 
but  I’m  going  to  marry  him  if  I feel  like  it.”  “Going  away?”  “ I was 
dizzy  for  a moment,  that  was  all.”  “ This  marriage  is  absolutely  neces- 
sary to  prevent  my  disgrace.”  “General  Lestei\you  are  a noble  man, 
and  I will  repay  my  father’s  debt  of  honor.”  “ Kobert  Glenn  is  dead.” 

Act  2.  Isje  of  Santa  Cruz.  “Mark  brings  bis  American  bride  to  i 
his  home  to=day.”  You  and  I and  our  child  will  be  no  better  than  ser-  j 
vants.”  “ How  can  I help  but  be  happy  with  one  so  good  and  kind.’’  ! 
“ It  means  I am  another  man’s  wife.”  “ Dat’s  mine,  don’t  you  go  to 
readm’  my  lub  lettahs  in  public.” 

Act  3.  Sitting-room  iu  Lester’s  house.  “ What  has  happened?  Is 
my  husband  safe?  ” “ Break  away,  give  your  little  brother  a chance.” 

“ To  tell  th©  truth,  my  heart  is  breaking.”  “Debt  of  duty  I and  I was 
fool  enough  to  think  she  loved  me,’’ 

Act  4.  “ The  illness  of  the  General  has  an  ugly  look.”  “ The  gos- 
sips have  it  she  would  rejoice  to  be  rid  of  her  husband.”  “The  Gilbert 
Hall  I loved  is  dead.”  “ Standing  on  the  brink  of  the  grave  my  vision  is 
clearer.”  “ Forgive,  and  I will  devote  my  life  to  making  you  happy  in 
order  to  repay  the  debt  I owe  you— a debt  of  honor.’’ 

Copies  will  bo  seat  jjostpaid  to  any  address  on  leceipt  of  the  pricic 


HAQEMAN’S  MAKE=UP  BOOK. 


By  MAURICE  HAGEMAN. 

Author  of  “What  Became  of  Parker,”  “Prof.  Robinson,”  “Hector,”  “Mra 
Mulcahy,”  “The  First  Kiss,”  “By  Telephone,”  “To  Rent,”  eto. 

Price,  25  cents. 

The  importance  of  an  effective  make-up  is  becoming  more  apparent  to 
the  professional  actor  every  year,  but  hitherto  there  has  been  no  book  on  the 
subject  describing  the  modern  methods  and  at  the  same  time  covering  all 
branches  of  the  art.  This  want  has  now  been  filled.  Mr.  Hageman  has  had 
an  experience  of  twenty  years  as  actor  and  stage-manager ,and  his  well-known 
llteiaryability  has  enabled  him  to  put  the  knowledge  so  gained  into  shape 
to  be  of  use  to  others.  The  book  is  an  encyclopaedia  of  the  art  of  making  up. 
Every  branch  of  the  subject  is  exhaustively  treated,  and  few  questions  can 
be  asked  by  professional  or  amateur  that  cannot  be  answered  by  this  admira- 
ble hand-book.  It  is  not  only  the  bOoA;  ever  published,  but  it 

is  not  likely  to  be  superseded  by  any  other.  It  is  absolutely  indispensable 
to  every  ambitious  actor.  / 


CONTENTS. 

Chapter  I.  General  Remarks. 

Chapter  11.  Grease-Paints,  their  origin,  components  and  use. 

Chapter  III.  The  Make-up  Box.  Grease-Paints,  Mirrors,  Face  Powder  and 
Puff,  Exora  Cream,  Rouge,  Liquid  Color,  Grenadine,  Blue  for  the  Eyelids, 
Brilliantine  for  the  Hair,  Nose  Putty,  Wig  Paste,  Mascaro,  Crape  Hair, 
Spirit  Gum,  Scissors,  Artists’  Stomps,  Cold  Cream,  Cocoa  Butter,  Recipes  for 
Cold  Cream. 

Chapter  IV.  Preliminaries  before  Making  up;  the  Straight  Make-up 
and  how  to  remove  it. 

Chapter  V.  Remarks  to  Ladies.  Liquid  Creams,  Rouge,  Lips,  Eyebrows, 
Eyelashes,  Character  Roles,  Jeweliy,  Removing  Make-up. 

Chapter  VI.  Juveniles.  Straight  Juvenile  Make-up,  Society  Men, 
Young  Men  in  111  Health,  with  Red  Wigs,  Rococo  Make-up,  Hands,  Wrists, 
Cheeks,  etc. 

Chapter  VII.  Adults,  Middle  Aged,  and  Old  Men.  Ordinary  Type  of 
Manhood,  Lining  Colors,  Wrinkles,  Rouge,  Sickly  and  Healthy  Old  Ag^ 
Ruddy  Complexions. 

Chapter  VIII.  Comedy  and  Character  Make-ups.  Comedy  Effects, 
Wigs,  Beards,  Eyebrows,  Noses,  Lips,  Pallor  of  Death. 

Chapter  IX.  The  Human  Features.  The  Mouth  and  Lips,  the  Eyes  and 
Eyelids,  the  Nose,  the  Chin,  the  Ear,  the  Teeth. 

Chapter  X.  Other  Exposed  Parts  of  the  Human  Anatomy. 

Chapter  XL  Wigs,  Beards,  Moustaches,  and  Eyebrows.  Choosing 
a Wig,  Powdering  the  Hair,  Dimensions  for  Wigs,  Wig  Bands,  Bald  Wigs, 
Ladies’  Wigs,  Beards  on  Wire,  on  Gauze,  Crape  Hair,  Wool,  Beards  for 
Tramps,  Moustaches,  Eyebrows, 

Chapter  XII.  Distinctive  and  Traditional  Characteristics.  North 
American  Indians,  New  England  Farmers,  Hoosiers,  Southerners,  Politicians. 
Cowboys,  Miners,  Quakers,  Tramps,  Creoles,  Mulatoes,  Quadroons,  Octo- 
roons, Negroes,  Soldiers  during  War,  Soldiers  during  Peace,  Scouts.  Path- 
finders, Puritans,  Early  Dutch  Settlers,  Englishmen,  Scotchmen,  Irishmen, 
Frenchmen,  Italians,  Spaniards,  Portuguese,  South  Americans,  Scandina- 
vians, Germans,  Hollanders,  Hungarians,  Gipsies,  Russians.  Turks,  Arabs. 
Moors,  Caffirs,  Abyssinians,  Hindoos,  Malays,  Chinese,  Japane.se,  Clowns  and 
Statuary,  Hebrews,  Drunkards,  Lunatics,  Idiots,  Misers,  Rogues. 

Address  Orders  to 

THE  DRAMATIC  PUBLISHING  COMPANY, 

CHICAaO,  ILLINOIS. 


PLAYS. 


Being  the  largest  theatrical  booksellers  in 
the  United  States,  we  keep  in  stock  the  most 
complete  and  best  assorted  lines  of  plays  and 
entertainment  books  to  be  fonnd  in  this  conntry. 

We  can  snpply  any  play  or  book  pnb- 
lished.  We  have  issned  a 144-page  catalogne 
of  the  best  1500  plays  and  entertainment  books 
published  in  the  U.  S.  and  England.  It  con- 
tains a full  description  of  each  play,  giving 
number  of  characters,  time  of  playing,  scenery 
costumes,  etc.  This  catalogue  will  be  sent  fret 
on  application. 

The  plays  described  are  suitable  for  am 
ateurs  and  professionals,  and  nearly  all  of  then 
may  be  performed  free  of  royalty.  Persons  in 
terested  in  dramatic  books  should  examine  on 
catalogue  before  ordering  elsewhere. 

The  Dramatic  Publishing  Company. 

CHICAGO- 


